She Hath Done It Again
The bizarre sorcery of Ottessa Moshfegh + an absolutely correct, non-disputable ranking of Anne Hathaway's iconic film performances.
In the shadowy landscape of contemporary literature, Ottessa Moshfegh emerges as a sly sorceress with a penchant for darkly comedic tales and a notable knack for protagonists obsessed with their bodily functions. This past week, I read Eileen. In part because I’ve been meaning to and in part because I was excited to watch the 2023 film adaptation starring none other than Princess Mia Thermopolis herself.
In the novel, Eileen, the eponymous protagonist, is a misfit. Picture Wednesday Addams with a 1960s Boston-suburbs accent and a serial case of constipation. Through the first half of the novel, we learn that Eileen works at a correctional facility for young boys, and we are invited to walk the corridors of her self-centered, often unconventional, mind. She hates her life, especially her father. She’s a virgin with frequent sexual fantasies. But she narrates the mundanity of her world with an oddball neuroses and (reader be warned) is often examining her scatological cycle:
The movements of my bowels were a whole other story. They occurred irregularly—maybe once or twice a week, at most—and rarely without assistance. I’d gotten into the gross habit of gulping down a dozen or more laxative pills whenever I felt big and bloated, which was frequently… I’d become dependent on those laxatives. Without them my movements were always pained and hard and took a good hour of clamping down and kneading my belly and pushing and praying. I often bled from the effort, digging my nails into my thighs, punching my stomach in frustration.
Moshfegh’s spare and direct writing style is captivating, and the grotesque nature of the content does make literary sense (Eileen is backed up, and so is her life). But at times, the tone and narration were provocative often for the sake of provocation. I’m not saying it’s not effective. It is. But it reminds me of the recent film Saltburn in the way its shock-value is intriguing and entertaining, but leaves you empty-handed.
If you’re interested in literary constipation, I suggest this article I found by Jessica Gross.
The second half of this short novel is where the plot takes off. Eileen is introduced to an alluring, new-to-town prison psychologist named Rebecca and becomes immediately entranced. I won’t say much else as I don’t want to spoil the plot, but there are unexpected twists and turns that definitely deliver a devilish delight.
Book to film adaptions like this one are tricky because so much of the novel takes place in Eileen’s head. Luckily, the tone of the novel is one that effortlessly transcribes to the film genre. The novel Eileen feels creeping, atmospheric, and Hitchcockian, so the film delivers what only makes sense: a gloomy and somewhat absurd suspense thriller. The film opens on a hazy lake, an idle engine, and the screen filling with billows of smog. We instantly get it.
I rated the movie a solid three stars, same as the book. The mood was moody. The plot was plotty. (Moshfegh is a great screenwriter as well, I enjoyed her work on Causeway starring Jennifer Lawrence). What elevates the novel over the film is, of course, the sharp writing. And what elevates the film over the novel is the acting. The movie features a confident performance from Thomasin McKenzie in the lead role of Eileen and an overshadowing, dynamic performance from Annie Hathaway (not a typo, she prefers Annie) as the femme fatale Rebecca.
Annie ultimately makes the movie. Sorry, not sorry. Because Eileen’s interiority (and, notably, her laxative dependence) is absent in the film compared to the book, the role of Rebecca is heightened and Annie is serving. She is serving Katharine Hepburn. She is serving Joan Fontaine. She is serving lipstick lesbian wealth. She is serving cvnt.
As promised, it’s time to talk more about the legend, a luminary of the silver screen: Anne Hathaway. Oh, Annie. Her range is startlingly acrobatic. We love her, the highly constructed performances she brings to her films (even if it’s ill-cast Selina Kyle in The Dark Knight Rises), and the ebullience she gives to her fans and audience.
Below are my top five Annie Hathaway film performances. I have a feeling most people will have seen these, but if not… What are you doing?? Get on it!!
Colossal (2016) — One of her perhaps least-watched films delivers one of her most memorable performances. In this genre-bending film, Hathaway plays Gloria, a woman whose life takes a bizarre turn when she discovers her ability to control a giant monster wreaking havoc in South Korea. Yes, you read that synopsis correctly. Hathaway's unconventional performance showcases her willingness to explore outside the conventional Hollywood playbook and stands as a testament to her range, anchoring a film that seamlessly blends fantasy, comedy, and drama.
Brokeback Mountain (2005) — Perhaps one of the best short story to film adaptations out there. While Hathaway's role as Lureen Twist is a supporting one, her performance in Ang Lee's groundbreaking film breathes truth into the phrase “there are no small parts.” Her portrayal is nuanced, heartbreaking, and brings depth to a character who could’ve easily been one-dimensional.
Les Misérables (2012) — Her raw rendition of "I Dreamed a Dream," earned her an Academy Award for Best Supporting Actress. Let’s be real, the film itself is a hot endless mess. But she did her thing in one uninterrupted LIVE take that stole the show. Sure, the intensity of her performance is easy to parody, but it also made her moment on screen singular and unforgettable in an otherwise overstuffed film.
The Devil Wears Prada (2006) — Andy Sachs is AN ICON. I get it. It’s easy to dismiss our Annie here because Meryl Streep’s performance as Miranda Priestly dominates on screen. But her comedic timing and on-screen chemistry with Streep is ultimately what drives the story and the film's wide success.
Rachel Getting Married (2008) — It’s hard to beat Kate Winslet (who won Best Actress this award year for The Reader). But even if Hathaway didn’t win for this performance, it is, by far, her most Oscar-worthy role. This is a terrific film. I believe Jonathan Demme could make almost anything interesting to watch. But Hathaway is truly wild in the complex role of Kym, a woman returning home for her sister's wedding after spending time in rehab. The character's inner turmoil is expertly portrayed by Hathaway, who navigates the delicate balance between vulnerability and volatility.
Don’t agree with my rankings? Suck it!
Just kidding! Share your favorite Hathaway on-screen moments. There are plenty to choose from.
More From This Week In Calvin Culture…
FILM:
Citizen Kane rewatch — no one’s actual favorite, but it is indeed very good
She Came To Me — a shipwreck, but Anne Hathaway going ALL IN is a riot
Dark Waters — a masterful, frightening “issues” thriller, fuck chemical corporations
Eileen — reviewed above
Rachel Getting Married — a rewatch, I’ve always loved Hathaway’s top-notch performance, but this time I was most stunned by Demme’s direction
Wonka — bonkers, and not in a good way. Empty songs. Timmy be gooning. Pass.
TV:
Currently watching, The Boys and enjoying it. Didn’t watch the Drag Race premiere, but I will. The Golden Globes were pretty atrocious. One of the worst hosts in years, Jo Koy, bombed and then blamed it on his writers in real time. Great celeb attendance though! And the film wins, while predictable and boring, made sense.
BOOKS:
Currently reading The Color Purple & Tomorrow and Tomorrow and Tomorrow.
FOOD:
I had, not being hyperbolic, the best pork katsu of my life at Kohban, an izakaya-style restaurant in Chelsea with a warm, soulful ambiance. The sushi and udon were fantastic as well, and the aesthetic was super intimate and reminded me a lot of the izakaya in Japan with its authentic flavors. Grab a res, they seem to be going fast!